Richard Burdick's thoughts for his horn students
III. On Tone and practice
Tone quality was a big issue for me this year (Fall 2007), it wasn’t until I recorded the slow movement of Hindemith's Second Organ sonata for my "Beyond Favoirtes" album, in late November 2007 that I felt I had my tone back after a hard music festival in August.
I now have the belief that one must warm up with as beautiful tone as one can achieve. You can always play aggressive and loud with adequate tone, but the sweeter moments don’t just suddenly have beautiful tone. I now recommend starting with the stuff like the Hindemith slow movement and then move on to the flashy stuff, not the other way around!
More thoughts on tone
Ideally, a French horn player plays just like he or she would sing, however one must sing properly. The use of syllables is quite important and generally we play with and open mouth cavity and breath deeply for the low register. And for the high register, we use a smaller mouth cavity and breath higher in the lungs.
By the way, A relaxed throat and generally body are quite important you definitely do not sing with a tight throat.
My main point here however is the use of syllables. I have never been told by a teacher to use the syllable “TOE”, but I like to syllable for the low register. And then generally, I try to keep my mouth cavity as open as possible for a big tone. “Tee” syllables in the upper register are understandable, but try to remain relaxed and always keep the air flowing.
I was quite surprised when I realized I could hold my breath or play a longer tone if I kept my nose relaxed. I have found that resonance in the high register is quite connected to residents in the nasal passages.
I will have more thoughts on tone eventually.
April 7, 2011
CD41 American Horn Music vol. 2
CD40 Retrospective II
Horn Quartets No's 1 - 5
CD39 Bach by Popular Demand
CD39 A sequel to
Easter Oratorio CD and his Favorites CD Bach Cantatas, 26, 84 & 99
CD38 Matthew Locke:
Broken & Flatte Consorts
CD38 Richard Burdick performs trios from the late renaissance: all 6 Broken Consort Suites and both Flatte Consort suites - 36 track of Christmas like music.
CD37 Microtonal music of Richard Burdick
Music By Duvernoy & Schneider
of the 40's & 50's
There are many lesser-known 20th century composers, who have great worth!
Let’s not forget the music of: